The aesthetic and rhetorical range of
The aesthetically sparse Constructive Editing in Robert Bresson’s ‘Pickpocket’-video is a superior example of formal analysis exerted in video [Figure 20]. This is unsurprising, given Bordwell’s established scholarly position and academic qualities within the field of Film Studies. It is noticeable, however, how Bordwell’s vast teaching experience, through its traditional forms of analytical practice, influences the technological and argumentative properties of the video. Most salient is the fact that in a twelve-minute audiovisual essay only one minute (7:06 – 8:16) plays actual video – the rest of its running time is filled with still images, like traditional presentation slides, and voice-over narration. The analysis opens
While the video may seem an exercise in objective analysis, Lavik’s enumerations are laced with personal opinion and interpretation. His voice is heard almost continually
Whereas Bordwell’s work has a clear scope and a lucidly structured – scholarly – approach, a more open and playful format can be found in Kogonada’s 2013 What is Neorealism?
The 04’55” analysis is a side-by-side comparison of two cuts of the ‘same film’. Although David O. Selznick and Vittorio De Sica were once coupled to collaborate on a film, ultimately they both took to their own and made two separate editions for two different markets (Selznick’s Indiscretion of an American Wife and De Sica’s Stazione Termini [Terminal Station], both from 1953 [Figure 22]).
In between of Bordwell and Kogonada’s approach is Jim Emerson’s In the Cut videos
Non-scholarly but strong examples of
Though the format – Everything Wrong with [Title] in [x] Minutes – and its execution – loud and abrasive voice-over, high paced editing, nonsensical criteria and verdicts – these videos are little more than spiel; they are, in many ways, nearly related to modern-day hyper-narrated